Abstract Drawing on the malevolent creativity and innovation literature, the creative problem-solving process, and diffusion of innovation (DOI) theory, the present effort examines the conditions under which malevolent actors may adopt artificial intelligence (AI) in pursuit of harmful objectives. We present the Cognitive-Operational-Societal- Technology (COST) model, a theoretical framework that integrates and organizes AI-enabled malevolent innovation across three distinct levels. At the cognitive level, we postulate that AI serves to reduce expertise constraints and expand the population of actors capable of harmful ideation. At the operational level, we propose that AI narrows the distance between intent and execution by reducing the psychological and technical barriers to implementation. At the societal level, AI’s persuasion characteristics may accelerate the diffusion of harmful capability. Following these descriptions, several cases are used to illustrate differing applications of AI for malevolent use. This effort pursues three core aims: examining how AI differs from prior technologies in malevolent use, applying DOI theory to explain its perceived advantage for malevolent actors, and introducing the COST model to organize AI-enabled harms across multiple levels.
Abstract The current influence of digital media has reshaped the final image, reflecting a new relationship between society and visual representation. As Anna Weyant asserts, social media and its imagery have become both the primary influence and the preconceived outcome in her conceptual framework and pictorial results. Therefore, this text provides an analysis of the impact of digital imagery and design, homogenised by interconnectivity, on the pictorial processes of painting. The research focuses on the inversion of visual comprehension by exploring how digital design manifests in the painting practice of Anna Weyant, a representative figure of her generation. Consequently, design theory will serve as the basis for the analysis of her first museum exhibition at the Thyssen-Bornemisza Museum, providing a methodological framework composed of three essential concepts: a) Donald Norman’s complexity and simplicity, b) Vilém Flusser’s theory of gesture, and c) the layer system. Through these core concepts, the analysis demonstrates how Weyant’s work balances handcrafted gesture with digital process, critiquing visual homogenisation and simplicity, while reclaiming materiality and identity with surreal, layered compositions.
Abstract Creative experiences are novel encounters between people and the world. In an educational context, it is important to encourage creative experiences. This study aims to analyse creative experiences in formal and non-formal educational institutions from the perspective of university students. The aim is to understand the particularities of these experiences and how creative learning is constructed. This qualitative study employs a phenomenological methodological approach to understand creative experiences from the students’ perspective. A questionnaire, consisting of open-ended questions, was used to collect qualitative data. As part of the questionnaire, participants were asked to describe a creative educational experience. A convenience sample of 125 students from the National University of Río Cuarto was selected. A thematic analysis was conducted using Atlas.ti. The analysis’s quality was ensured through inter-researcher triangulation and communicative validity. Three general categories were constructed from the coding: particularities of experience; arguments about creativity; and learning outcome. A comparative cross-sectional analysis is also presented. Creative experiences promote autonomy and the development of agency, facilitating decision-making, exploration, product creation, and problem-solving. These experiences draw upon diverse knowledge and promote collaborative work. The analyses revealed two cross-cutting themes: the articulation between theory and practice, and the value of emotions in creativity. University plays a pivotal role in fostering creative learning experiences. It is crucial to develop systematic educational innovations that encourage creative learning throughout undergraduate education.
Abstract In a world marked by uncertainty and accelerating change, there is a growing need for tools that help individuals understand how they relate to the possible. Building on recent work proposing “Possibilities Literacy” as a set of competencies for perceiving, generating, engaging with and ethically guiding possibilities, this article introduces the Possibilities Literacy Questionnaire (PoLiQu). Rather than a validated psychometric instrument, PoLiQu is conceived as a reflective tool designed to support self-understanding, dialogue and personal or group development. Its fifteen items correspond directly to the fifteen dimensions of the Possibilities Literacy framework: Perception, Crafting, Engagement, Stewardship, and Mindsets, each explored through Constraints, Alternatives, and Agency. The questionnaire invites respondents to reflect on their behaviours rather than underlying traits, using understandable response options such as “often”, “sometimes” or “rarely”. It can be completed in multiple ways: assessing one’s current practices, one’s aspirations, and the behaviours expected by others. PoLiQu can also be used relationally—i.e., completed with or for others—or as an interview guide that supports rich qualitative exploration. By proposing a tool that prioritises reflection rather than measurement, PoLiQu contributes to an emerging family of creativityoriented, socioculturally grounded instruments that aim not to categorise individuals but to expand their horizon of possibility. Its potential applications range from education and organisational development to therapy, coaching, and community work.
Abstract As Human-Computer Interaction (HCI) continues to evolve, creativity has become a cornerstone for generating innovative and user-centered design solutions. Central to fostering this creativity is empathy, a core factor that enables designers to deeply understand and respond to users’ needs and perspectives. This qualitative study investigates how HCI professionals conceptualize and apply empathy in their routine work, with particular attention to its interaction with intrinsic and prosocial motivation throughout the creative processes. Using semi-structured interviews with 15 practitioners from diverse domains, thematic analysis was conducted to explore how empathy is embedded in their understanding of creativity and integrated into both theory and practice. Three overarching themes emerged, identifying real-life problems , enriching experiences , and creating greater value , each corresponding to distinct stages of the creative process. Participants described empathy as a dynamic link between themselves and users, with cognitive and affective components playing complementary roles across different phases of their work. These empathic engagements were found to synergize with intrinsic and prosocial motivation, fostering user-oriented creative solutions. The findings highlight how empathy and motivation jointly shape creativity in HCI practice, extending the Componential Model of Creativity. The study suggests the need for training programs that cultivate empathy and motivation as core competencies in HCI education and industry, thus reinforcing the creative process and human-centered design.
